Nor is Battle Abbey the only remaining monument of Hastings. Matilda’s own handiwork prepared her thank offering of tapestry, recording her husband’s victory; and this work, done as it was for a gift to Heaven, not a vainglorious record, still endures in the very cathedral to which she gave it, one of the choicest historical witnesses that have come down to our times. We might be apt to regret that she did not present her work to Battle Abbey, where it would have been most appropriate; but as the Puritans would most likely have called it a Popish vestment savoring of idolatry, we are consoled by thinking it probably owes its preservation to her having chosen to give it as a hanging on festival days to the Cathedral at Bayeux, the see of her husband’s half-brother, Odo, who shared in all the toils and dangers of the expedition, and whom she has taken especial care to represent for the benefit of the townspeople of Bayeux; for wherever we find his broad face, large person, shaven crown, and the chequered red and green suit by which she expressed his wadded garment, his name is always found in large letters; and he is evidently in his full glory when we find him, club in hand, at the beginning of the battle, and these words worked round him: _Odo Eps._ (episcopus) _baculum tenens, confortat pueros_. He was one of the bad, warlike Bishops of those irregular times, and brought many disasters on himself by his turbulence and haughtiness.
Matilda’s tapestry is a long narrow strip, little more than half a yard in breadth. It begins with Harold’s journey to Normandy, and ends unfinished in the midst of the battle; and most curious it is. The drawing is of course rude, and the coloring very droll, the horses being red and green, or blue, and, invariably, the off-leg of a different color from the other three, while the ways in which both horses and men fall at Hastings make the scene very diverting.
Her castles, houses, and more especially Westminster Abbey, are of all the colors in the rainbow, and much smaller than the persons entering them, and yet in every figure there is spirit, in every face expression, and throughout, William, Harold, and Odo, bear countenances which are not to be mistaken. Harold has moustaches, which none of the Normans wore. There we find Harold taking his extorted oath; the death of King Edward, the Saxons gazing with horror at the three-tailed comet; the ship-building of yellow, green, and red boards, cut out of trees with most ludicrous foliage; the moon just as it is described; the disembarkation, where a bare-legged mariner wades out, anchor in hand; the very comical foraging party; the repast upon landing, where Odo is saying grace with two fingers raised in benediction, while the meat is served on shields, and fowls carried round spitted upon arrows. Then follows the battle, where William is seen raising his helmet by its nose-guard, and looking exceedingly fierce as he rallies his men; where horses and men tumble head over heels, and where, finally, Matilda broke off with a pattern of hawberks traced out, and no heads or legs put to them. What stayed her hand? Was it her grief at the conduct of her first-born that took from her all heart to proceed with her memorial, or was it only the hand of death that closed her toil, her womanly record of her husband’s achievements?